Quentin Tarantino

Record year1992–1997

summaryThe first two films established dialogue-dense, interwoven/cyclical crime narratives; the third constitutes a character-centered adaptation remainder of an existing novel.

M rationaleBFI/LOC support the three films, their adaptation sources, and shared-story contributions; after Jackie Brown is included, M6.1 adds only the adaptation remainder and does not replicate the full M of a work.

attribution rationaleTarantino .24, Avary .07, Leonard .05, team .33, prehistory .14, institutions .07, unresolved .10.

overlap boundaryThe screenwriting/adaptation-directing endpoints of the two films from 1992 and 1994 and of Jackie Brown from 1997; the latter claims only the remainder of adapting Elmore Leonard’s Rum Punch into a film and does not attribute the original story to Tarantino.

Evidence gapsThe complete credits, labor conditions, and racial/gender criticism have not been closed.

Record year2009–2019

summaryForms four complete collaborative films through a war film, a slavery Western, a chamber Western, and a self-reflexive Hollywood narrative.

M rationaleBFI places the first three historical films, including The Hateful Eight, together, while Academy material supports the remaining credits. After the 2015 film is included, M6.0 counts only the added independent-film remainder and does not add across four films.

attribution rationaleTarantino .25, film team .39, named producers .06, prehistory .16, institutions .06, unresolved .08.

overlap boundaryThe four screenwriting/directing film endpoints of Inglourious Basterds, Django Unchained, The Hateful Eight, and Once Upon a Time…in Hollywood; they are grouped by historical settings, violence, and genre revision rather than replicated by film count.

Evidence gapsThe complete credits, treatment of history, labor conditions, and critical controversies of all four films have not been closed.

Record year2003–2007

summaryForms two mutually exclusive endpoints sharing an exploitation-film grammar: a two-volume revenge film spanning animation, wuxia, and Westerns, and a feature-length slasher–muscle-car film with a repetitive structure.

M rationaleBFI material supports Kill Bill’s genre integration and specifies Death Proof as a 2007 component of Grindhouse combining slasher and 1970s muscle-car cinema. Once included, M5.9 counts only the second endpoint remainder and does not grant another full film M.

attribution rationaleTarantino .24, Bender .06, film team .37, genre prehistory .19, institutions .06, unresolved .08.

overlap boundaryTreats the two volumes of Kill Bill from 2003–04 as one film endpoint, plus Death Proof from 2007 as an independent director/writer feature within Grindhouse; combines their recombination of revenge, exploitation-film, action, and muscle-car genres without replicating M by volume or film.

Evidence gapsThe complete credits of Death Proof, the shared production of Grindhouse, and the share of stunt labor have not been closed.

Record year20th-century 90s

summaryDelivered three genre screenplay texts that other creators could rewrite and film.

M rationaleThe BFI institutional overview clearly establishes the relationship among the three screenplays; a narrow M5.2 is used. The versions of the screenplays have not been read, so no claim is made about textual quality, and credit is not multiplied by the three films.

attribution rationaleTarantino .42, rewriting directors .13, prehistory .18, delivery .08, institutions .05, unresolved .14.

overlap boundaryBFI confirms that Tarantino wrote the screenplays for True Romance, Natural Born Killers, and From Dusk Till Dawn; counts only transferable texts and the remainder in final films, without claiming the entirety of films made through others’ directing, rewriting, or performances.

Evidence gapsOriginal/shooting scripts, the final retained proportion, and rewriters have not been closed.